File:A history of architecture in Italy from the time of Constantine to the dawn of the renaissance (1901) (14782153514).jpg

Identifier: historyofarchit02cumm (find matches)
Title: A history of architecture in Italy from the time of Constantine to the dawn of the renaissance
Year: 1901 (1900s)
Authors: Cummings, Charles Amos, 1833-1905
Subjects: Architecture
Publisher: Boston, New York, Houghton Mifflin and company
Contributing Library: PIMS - University of Toronto
Digitizing Sponsor: University of Toronto

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hand,a partial recurrence to the Lombard arrangement of vault- saning, and on the other, the adoption in a rather clumsy formof a characteristically Gothic feature. The nave is in one oblongand three square bays, the latter with sexpartite vaults, and is sepa-rated by pointed arcades with octagonal piers from the aisles, whichare eacli in seven square bays with four-part vaults. There is nodifference in the form or size of the piers, which are of brick,with moulded capitals; but those which determine the division ofthe aisles, and whichare properly interme-diate piers, are pre-cisely similar tothose which carryalso the transversearches of the navevaults. An arrange-ment more com-pletely logical is thatof the typical Lom-bard churches, as SanAmbrogio at Milanand San Michele atPavia, where an in-termediate columntakes the place of thepier, — where, how-ever, the nave vaultsare in four parts in-stead of six, — andlater in the monas-tic church of SanMartino at Cimino,referred to on a
Text Appearing After Image:
Fig. 351. Bologna. East End of S. Francesco. r 174 ARCHITECTURE IN ITALY previous page, where in the transepts the intermediate column isused, in connection with a sexpartite vault.^ To this essentially Lombard plan is added in S. Francesco aneastern termination very unlike anything in Lombard architecture.The choir is an oblong groined bay with a polygonal apse, surroundedby an ambulatory in two square and nine trapezoidal bays, fromwhich open as many square radiating chapels covered with groinedvaults. The exterior triangles between the chapels are not filledwith masonry, but the chapels are connected on the- exterior by a flatarch crowned by a low wall set a little back from their outer faces.(Fig. 351.) The arrangement is like that of S. Antonio at Paduaand S. Domenico at Bologna. The vault of the choir, as well asthose of the nave, is reinforced by bold flying buttresses above theaisle roofs. Those of the nave are curiously placed, opposite theintermediate ribs of the sexpartite

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